At the NewPages Blog readers and writers can catch up with their favorite literary and alternative magazines, independent and university presses, creative writing programs, and writing and literary events. Find new books, new issue announcements, contest winners, and so much more!
Published by Press 53, Prime Number Magazine celebrates its 16th Anniversary! Prime Number is home to distinctive poetry, short fiction, and flash nonfiction from writers around the world. Each issue of Prime Number features winners of their free, monthly 53-Word Story Contest, regular content selected by guest editors, and information about upcoming guest editors. Their annual September edition features the winners of the Prime Number Magazine Awards for Poetry and Short Fiction that are open for entries January through March each year, and the winners of their two free contests: the monthly 53-Word Story Contest and the “Prime 53 Poem” Summer Challenge.
The newest issue, #281 (Jan-Apr 2026), features selections from guest editors Maura Way (poetry), Gerry Wilson (short fiction), and Shuly Xóchitl Cawood (flash nonfiction), who selected works by Bethany Bruno, Melissa Ostrom, David M. Alper, Dustin P. Brown, Maureen Martinez, Sarah Sorensen, Laura Freudig, B.P. Gallagher, and Steven Schwartz. Readers can also enjoy the publication’s 2026 Pushcart Prize Nominees.
Plume publishes the best contemporary poetry: national and international voices in monthly issues with twelve poets contributing one poem each. Plume Issue #173 (January 2026) includes a portfolio of poems by George Bradley with additional contributions by Samuel Amadon, Marisa Martínez Pérsico, Lindsay Stuart Hill, Joseph Campana, J.T. Barbarese, Fleda Brown, Cynthia Cruz, Charles Bernstein, Bruce Bond, and Alan Shapiro. Readers can also find commentary from authors in the section “The Poets and Translators Speak” as well as “On the Prose Poem, the Fragment, Literary Influence, and Kafka’s Ears: An Interview with Peter Johnson” by Cassandra Atherton, and the essay, “A Love Letter to Longing” by Alice B Fogel. Ann Leamon reviews the atmosphere is not a perfume it is odorless by Matthew Cooperman.
This is a weekend for bundling up in layers and staying indoors with a steady supply of hot drinks and soup. Here in the Midwest, we’re heading into subzero windchills—never fun when stepping outside means being instantly frozen. Take care of yourselves and stay safe if you’re in an area experiencing dramatic temperature dips or snowstorms.
NewPages has the perfect remedy to keep you cozy and creative. Enjoy a weekly dose of writing inspiration and more than 100 venues where you can submit your work. It’s more than enough to keep you active, busy, and out of the chill.
Inspiration Prompt: It’s All in the Breed
I share my life (and my blankets) with two dachshunds—stubborn, affectionate little tunneling machines who believe the universe revolves around snuggle time and whatever scent trail they’ve decided is more important than my plans for the day. Dachshunds were bred to hunt badgers underground… which explains both their determination and my yard.
For this week’s prompt, imagine a world where human emotions and habits are inherited directly from the animals we love or live with. Not shapeshifting, not fables—just a strange rule of the universe: your temperament comes from your household species or breed.
Since 1998, OffCourseis a quarterly journal for poetry, criticism, reviews, stories, and essays edited by Ricardo Nirenberg for readers to enjoy open-access, online. OffCourse December 2025 offers a diverse literary collection exploring surreal imagery, memory, place, identity, and the intersections of the everyday with the mythic and psychological. Contributors inlcude Sarah Carleton, Linda Fischer, Louis Gallo, Lois Greene Stone, Mark Jackley, Miriam Kotzin, Ricardo Nirenberg, Claire Scott, Ian C. Smith, J. R. Solonche, Daniel P. Stokes, R. L. Swihart, and Jim Tilley. Readers will also find the publication’s full archive online.
The Winter 2025 Issue of Humana Obscura features work from 54 contributors from around the globe, including cover art by Brigitte B. Burckhardt, back cover art by Rose-Marie Keller-Flaig, interviews with artist Carol Haynes and poets Abby Harding and Sukriti Patny, and spotlights on the work of poet David Sleeth-Keppler and photographer Brooke Ryan.
Other contributors include Alexandra Karnasopoulos, Anne Kulou, Barbara Hickson, Beverley Sylvester, Caroline Brown, Christen Lee, Cynthia Anderson, D A Angelo, Debbie Strange, Dena Heitfield Smith, Diane Perazzo, Ellen Rowland, Ethan Pines, James Toupin, Jason Dean, Jason Harlow, Jen Lothrigel, Jennifer Gurney, Jil St. Ledger-Roty, Jim Stewart, Karah Snyder, Kiera Obbard, Kristine Amundrud, Lauren Chavez, Lee-Anne Schmidt, Lisa Perkins, Louis Talbot, Luke Levi, Melissa Dennison, Michael J. Kolb, Mike Taylor, Najib Joe Hakim, Nicholas Olah, Robert MacLean, Ron C. Moss, Ruth Sharman, Sarah Banks, Sarah Hewitt, Sarah Lilja, Shutta Crum, Sierra Glassman, Silvia Felizia, Soumya Mukherjee, Talitha May, Thomas Smith, Xenia Tran, and Yana Kane.
It’s no secret that I am particularly drawn to music and lyrics and can find myself being inspired by them. Whether it’s a particular turn of phrase that seems magical, a sung truth that cuts to the very core, or just an idea that gets me questioning or thinking—music stays with me. For a long time, the lyrics “That was a river / this is the ocean” seemed to haunt my mind.
What better fodder for inspiration than to consider bodies of water and compare them to emotional depths?
In the song by Colin Raye, these words offer a masterclass in emotional scale. Encountering an old flame, the singer reassures his wife that his past feelings were merely a river, while his current devotion is the ocean. It’s a striking image: a river has a beginning and an end; it follows a set path. But an ocean is an ecosystem. It is deep, immeasurable, and powerful enough to reshape the very coastline of our lives.
The World of Emotional Waterways
click image to open flyer
Imagine, for a moment, a world where our internal landscapes were literal. In this reality, emotions aren’t just felt—they are quantified by volume, flow, and depth.
The Droplet: A fleeting moment of affection, easily evaporated.
The Brook: A light infatuation, noisy and cheerful, but shallow enough to walk through.
The River: A serious attachment. It has a strong current and a clear direction, but it is ultimately contained by its banks.
The Ocean: True, transformative love. It is a vast expanse where you can no longer see the shore you left behind.
In such a world, how would we talk to one another? Would we warn friends of a “flash flood” of grief? Consider the tension that arises when someone offering an “ocean” of commitment meets someone experiencing an emotional “drought.”
Creative Prompt: Map Your Current
Whether you are a writer, painter, or digital artist, use this “Hydrology of the Heart” to create something new this week.
The Challenge: Write, draw, paint, or collage something that treats emotions as waterways—measurable, navigable, and capable of reshaping the land around them. What happens when your “ocean” meets someone else’s “river”?
Never Miss a Spark of Inspiration
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Published by Nostalgia Press, HEART literary journal hails from the lowcountry of South Carolina, with a penchant for modern prose poetry, poems that give life and motion to moods, messages from simple moments, and sparkling lines from meditative thought. The newest issue shines a spotlight on HEART Poetry Award winner Melinda Coppola for her work “Rinsing Blueberries.” Other contributors include Amber Rose Crowtree, Jenny Bates, Lexi Deeter, Jane Maria Robbins, Nicole Grace, Carrie Esposito, Julia H. Fonte, Lori Goff, Jacob Friesenhah, Richard Eric Johnson, Matthew Francis Mazzoni, Gib Prettyman, Shanina Carmichael, Nichola Viglietti, J. Anthony Jackson, and Connie Lakey Martin.
HEART also publishes HEARTPosts online, true personal experiences or personal opinions about how you manage to keep heart in your journey: the good, maybe bad, but insightful. Recent contributors include Ronald L. Nester, Sr., Harriette Graham Cannon, and Connie Lakey Martin.
Collateral online journal showcases literary and visual art that reveals the impact of military service and violent conflict beyond the combat zone. Take a moment to appreciate the artistry and humanity expressed by the newest issue’s contributors: Callie S. Blackstone, Anna Bowles, Benjamin Busch, Ryan Calo, Tommy Cheis, Julie Friar, Enrique Gautier, Gloria D. Gonsalves, Romney Grant, Christina Hauck, Wayne Karlin, Jayant Kashyap, Anja Mujić, Christian Paige, Madeleine Schneider, Thomas Short, Rachael Trotter, Bunkong Tuon, and Andy Young. Artwork by Alex Kuno.
Readers can also still catch Collateral‘s 2025 Pushcart Nominations by Anna Bowles, Gloria D. Gonsalves, Ryan McCarty, Wayne Karlin, Francisco Martínezcuello, and Bunkong Tuon.
The reading period for Collateral 10.2 is open until March 1, 2026.
Green Linden Press announces the launch of their imprint, Salon des Refusés. Borrowing the name of the 1863 exhibit of artists rejected from the prestigious Paris Salon, which included such luminaries as Manet, Pissarro, Rousseau, and Whistler, Salon des Refusés champions projects that, for various reasons, have remained unseen — those deemed too strange, too unmarketable, those chronically rejected, those overlooked because of the competitive nature of publishing, and those simply abandoned.
The first three titles of Salon des Refusés are available for pre-order: Landfill by André Le Mont Wilson [pictured]; Études for the Image, or The Cinder Path by Zach Savich; As Wind Rounds Sandstone, as Ice Sections Schist by H. L. Hix. Titles can be purchased individually or all three in a bundle for $40.
Upcoming Deadline: March 15 Four Deadlines for Poets! First up: the Washington Prize for a full-length collection. Submit January 15 – March 15. The Word Works then reads submissions for the Hilary Tham Capital Collection, the Tenth Gate Prize, International Editions, and our Open Reading Period. Each uses a different selection method, and our taste is omnivorous! View our flyer and visit our website for more information.
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Can you tell a gripping story in 300 words or fewer? Our Flash Fiction Writing Competition is open now. Ten winners, chosen by Tania Hershman, will be published in the Fish Anthology 2026. New and established writers welcome. Enter today, challenge yourself, and let a small story make a big impact. Deadline approaching—don’t miss your chance to be read, worldwide open submissions now. Learn more and submit here: fishpublishing.com.
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Application Deadline: March 1 Imagine finding a low-residency MFA program filled with smart, passionate writers who are as dedicated as you are. A program where you develop your talent together and cheer each other on. Where you throw your whole heart into becoming publishing, producing writers—together. spalding.edu/mfa
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The Colorado Authors League (CAL) supports and promotes its community of published writers while connecting with and adding value to the reading world. Formed in 1931, authors become members to: keep up with changes in the craft of writing, publishing, and marketing, gain greater visibility for their writing, join a group of like-minded people who love writing. View our flyer to see new releases by members and learn more at our website: coloradoauthors.org.
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Deadline: March 1, 2026 Apple in the Dark is seeking fiction and creative nonfiction submissions for the Spring 2026 issue. Submission deadline: March 1. Word limit: 1,500 per piece (up to three pieces per submission). Visit duotrope.com/duosuma/submit/apple-dark-1504B to learn more.
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Deadline: May 25, 2026 Livingston Press’s fourth annual Changing Light Prize for a novel-in-verse is accepting submissions. No entry fee. Send complete manuscript to [email protected] in a Word file. Include your bio in the file. View flyer or visit website for more information.
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The National Indie Excellence® Awards honor outstanding English-language books from self-published authors, indie presses, and university publishers. Now in its 20th year, NIEA celebrates excellence across all genres. Eligible books must be published within two years of the March 31 deadline. See flyer to learn more and submit at our website.
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Cleaver Magazine Issue 52 Winter 2025-2026 showcases the Visual Poetics Contest Winners: First Place “Box of Air” by Katrina Roberts; Second Place “MASH (a Cento Game for Poetry Lovers)” by Elizabeth Johnston Ambrose; and Third Place “Untitled Mural, Acrylic on Four Vertical Metal Panels, 6’ x 8’, c. 1979” by Cindy Hill.
The issue also includes poetry by Robyn Schelenz, Simon Parker, David John Rosenheim, Ivy Hoffman, Jim Stewart; fiction by KSM, N.D. Brown, Andrew V. Lorenzen, Marc Kaufman, Terri Lewis; micro fiction and nonfiction by Barbara Westwood Diehl, Louella Lester, Emily Rinkema, Aurora Bonner, Preeti Talwai, Sydney Lea, Bobby Crace, Kevin Spaide, Beth Gilstrap, Claudia Monpere; nonfiction by Vivienne Germain, Sara Quinn Rivara, and the visual narrative “Connecticus Diggs, Cultural Detective Episode 4: Letters” by Clifford Thompson.
Cleaver Magazine is free to read online and offers a full online archive and free subscriptions.
Can you believe January is already halfway gone? This week we sent out our eLitPak newsletter—if you missed it, you can catch up online here.
The weather’s still doing its 2026 flip-flop—50s one day, teens the next. Some things never change! One thing you can count on, though, is NewPages bringing you a fresh roundup of submission opportunities and inspiration every week. Happy writing and submitting!
Inspiration Prompt: Negativity is All in the Head
We talk about “negative” temperatures, but what does that really mean? For some, cold means the 40s or 50s. For others, it’s subzero, where the air bites and the world freezes solid. Did you know that when it gets extremely cold, the atmosphere can become too dry for snow? The colder it gets, the less likely you’ll see those flakes…and the more likely you should be slathering yourself in moisturizer.
This week, imagine life in a world below zero. What would change for you? What new skills would you need to survive? Now take it further: what if your attitude controlled the temperature? The more negative your thoughts, the colder your surroundings become. Could your mindset freeze rivers, frost windows, or plunge a city into an endless winter?
Write, sketch, or create around the idea of negativity—how it shapes environments, relationships, and survival.
Now that you are perfectly inspired, and perfectly frigid, keep going to find a home for your work.
Founded in 2016 in Joshua Tree, Cholla Needles publishes monthly issues showcasing ten writers in depth, including international voices and translations. The magazine focuses on established and emerging writers who have a distinctive voice and communicate well with readers. The January 2026 issue features works by Jason Jones, Arvilla Fee, Marlene M. Tartaglione, Bonnie Bostrom, Duane Anderson, Joseph Hutchison, Christien Gholson, Zita Murányi, Royal Rhodes, Justin Hollis, J. Malcolm Garcia, David Larsen, and Jonathan Ferrini. Cholla Needles is open year-round to submissions of poetry, short stories, creative essays, art and photographs.
The Winter 2025 issue of Boulevard includes 2023 Fiction Contest winner Mary Elizabeth Dubois, 2023 Nonfiction Contest winner Phillip Barcio, and 2023 Poetry Contest winner Lucinda Trew. It also features a Boulevard Craft Interview with Chelsea T. Hicks by Daniel J. Musgrave and an essay by Devin Thomas O’Shea, along with new fiction from Cole Chamberlain, Emerson Henry, Zehra Nabi, Jude Whiley, and Anthony Yarbrough, new poetry from Claressinka Anderson, Carrie Beyer, Colby Cotton, Tiara Dinevska-McGuire, Kindall Fredricks, Sammy Lê, and Anna Tomlinson, and translations of Luciana Jazmín Coronado by Allison deFreese, another translation of Roxana Crisólogo by Dr. Kim Jensen and Judith Santopietro, and essays by Brandi Ocasio, Riley Rockford, and Damieka Thomas. Cover art by August Lamm.
Due to the passing of a loved one, I have been spending more and more time jumping through what feels like the “phone Olympics” whenever I need to handle affairs or set things up. Going through the often-frustrating phone menu systems, waiting on hold only to get cut off before ever reaching a person, or even dealing with people who just refuse to be kind and helpful—it got me thinking about that little old thing we know as the dial tone.
How can that hollow sound be used to inspire your writing and art?
Inspiration Prompt: A Dial Tone Conversation
In an era of instant messaging and constant connectivity, the act of making a phone call has become a strange, often frustrating ritual. We navigate endless automated menus, parley with digital “gatekeepers,” and endure hold music that feels like it’s looping into eternity.
But there is a specific, haunting moment in this process that we rarely stop to examine: the dial tone.
The Echo of Something Unfinished
What happens when the promise of a human voice falls through? You wait through the ringing, hoping for a “hello,” only to be met with that flat, rhythmic hum. In that moment, the connection is severed, leaving you in a digital limbo.
To some, that sound is the ultimate symbol of modern isolation—a reminder of the barriers between us and the help or companionship we seek. To others, it might be a moment of relief, a sudden exit from a conversation they weren’t ready to have.
Ask yourself:
Is the dial tone the end of a conversation, or the start of one that never happened?
Is it a lonely sound, or a blank canvas?
What does the “machine gatekeeper” say about how we value each other’s time?
We want you to take this feeling—the frustration, the rhythm, or the silence—and turn it into art. Let the dial tone speak through your preferred medium:
Fiction: Write a story that begins the moment the line goes dead.
Poetry: Capture the cadence of the dial tone in your meter.
Visual Art: Create a collage or photograph that represents “the machine gatekeeper.”
Multimedia: Compose a short track or film centered around the drone of a disconnected line.
Creative Tip: Sometimes the best work comes from the most mundane frustrations. If you’re feeling stuck, try recording a dial tone and listening to it for three minutes. What images come to mind?
Never Miss a Spark of Creativity
If you found value in this prompt, there is plenty more where that came from. Our community thrives on the intersection of literature, art, and the tiny moments of daily life that inspire them.
Publishing essays weekly online, bioStories features literary essays portraying ordinary and influential lives, revealing moments of grace through vivid, empathetic word portraits. Recent essays include “Attempting Fate” by Adam Perry, “The Gymnast” by Mark Lucius, “FedEx: When You Absolutely, Positively Need That Third Job” by Patrick D. Hahn, “Rocket 88” by Sydney Lea, and “The Scottish Play” by Naomi DeMarinis. Readers will also delight in reading bioStories 2025 Pushcart Nominees: Elizabeth Bird for “On Love, War, and Loss: A Life in Three Acts” and Lee Jeffers Brami for “My Grandmother’s Secret.“
bioStories accepts submissions of nonfiction prose submissions only 500–7500 words (their typical piece runs an average of 2500 words). bioStories is also always on the look-out for art that is representative of their mission and that fits well with essays they feature as well as cover art for digital issues and digital/print anthologies. See the bioStories website for more information.
Wordrunner eChapbooks is a hybrid of online literary journal and chapbook collections. Their 56th issue, The Alice Project by David Hadbawnik, is excerpted from a longer work, Dolores Park: A Memoir of the 1990s’ Bay Area Art Scene, in which the author reflects on his younger, insecure self struggling to find his voice. Hadbawnik’s alter ego, Horner, strives to find his place in a community recently gutted by the AIDS crisis and grappling with widespread gentrification wrought by the dot-com bubble. He falls in with an eccentric group of dancers, musicians, poets, and artists of all kinds. Like the city, the Alice Project becomes a world unto itself, with moments of the sublime and absurd, triumph and failure, love and loss. The chapbook may be read online here or in a Kindle edition.
Also available online are all previous Wordrunner eChapbooks publications: 28 fiction, 8 CNF/memoir, and 5 poetry collections, each by one author — plus 15 anthologies by multiple authors and 3 micro-prose issues.
Submissions for the annual themed anthology will be open January 1 through February 28, 2026. More details here.
The January 2026 issue of The Lake now online featuring new poetry by J. Ajula, Rick Christiansen, Patrick Deeley, Carrie Farrar, Fin Fearn, William Ogden Haynes, Gabrielle Munslow, J. R. Solonche, Hannah Stone, Kamil Zaszkowski. The Lake also offers book reviews of Parch by Menna Elfyn, Soulful Dancer by William Ferris and Jianqing Zheng, and Singing the Forge by G. H. Mosson. The Lake’s unique feature ‘One Poem Reviews’ invites poets to send poems from recently published collections, this month spotlighting works by Elizabeth C. Garcia, LindaAnn LoSchiavo, Daniell McMahon, and Charles Rammelkamp.
Allium: A Journal of Poetry & Prose from Columbia College Chicago’s Department of English and Creative Writing publishes provocative, evocative, and bold literary works, interviews, and review, offering two online issues (Fall and Summer) and one print issue (Spring) as well as a podcast with new episodes on the first and third Friday of every month.
Allium Fall 2025 can be read online with poetry by Kenyatta Rogers, James Thomas Stevens, Hoa Nguyen, Damen O’Brien, Nick Raske, David Trinidad, Denise Duhamel, Hilary Sideris, Daniel Morris, Mel Alexander, Olivia Cronk, Anh P. Le, JeFF Stumpo, Danne Wendel, Tara Hollander, Bernard Welt, Simone Muench & Jackie K. White, Zaneta Lockwood, Nathaniel Santiago, Max Zhang, Candice M. Kelsey, Tim Hunt, Priyanuj Mazumdar, Thi Nguyen, Ally Feisel, Aiden Fijal, Colin Bailes, roberto harrison, Kailie Foley, Katelynn Bishop, Katie Cain, Nicole Tallman, Isabella Balta, Jeanette Kelleher; fiction by François Bereaud, Ann Graham, K Tyler, David Gonzalez, Madison Garbuz, Cody Kucker, Meghan Arenz, Mary Ann Presman, Emiliano Lievano, Jacqueline Kolosov, Paul Lewellan, Dena Pruett, Emma Grace, Yance Wyatt, Danne Wendel, Shaymaa Atwa, Katie Collins-Guinn, Gemini Wahhaj, Charlie Wade, Daniel Webre, Paul Holler, Ruth Ann Dandrea, Natalie Hernandez; and nonfiction by Louise Heller, Vi McMahon, Naila Buckner, Kenyatta Rogers, Gary DeCoker, Steve Weed, Karen Hindin, and Harvey Lieberman.
2River is an independent press offering free, innovative, print-ready poetry literary magazines as well as individually authored chapbooks. The 2River View Winter 2026 issue features new works by Forrest Rapier, George Burns, Erin Carlyle, Sean Thomas Dougherty, Kimberly Gibson-Tran, Kathryn Gilmore, Sarah Kersey, Megan O’Patry, Lynne Potts, Christianna Soumakis, and Garrett Stack. Authors also provide audio recordings, so readers can download and print the publication, listen to it online and via SoundCloud, and access the publication’s archive of issues and chapbooks.
Welcome to the first submissions roundup of 2026! We hope you enjoyed a fun and relaxing winter holiday season. We’re back to help you keep your writing and submission goals going strong—and to spark your creativity with a weekly dose of inspiration.
Inspiration Prompt: What is a Living Wage?
“There is an apple in the world for everyone’s need, but not for everyone’s greed.” — Rock My World
Minimum wage and living wage are not the same thing—and rarely even close. In the early 2000s, economists estimated that a true living wage for the average American would hover around $22 an hour. Two decades later, the gap between what people earn and what it costs to live has only widened.
We know the arguments: raise wages, cut jobs, hike prices. It feels like an endless cycle. But what does “enough” really look like?
Using your own experiences or observations, what do you think a true living wage is—and what would it take to achieve it?
Explore what happens when the concept of “living wage” becomes literal: what if wages determined how long you live?
Imagine a world where wages are tied to something other than money—time, health, happiness, or even art.
Visualize the symbols of “need” versus “greed”: apples, scales, empty wallets, overflowing vaults.
Tell the story of a character who earns their living in an unconventional way—or who fights for fairness in a system stacked against them.
Once you have finished your creation, keep going to find a home for your work.
From Consequence Volume 17.2 Letter from the Editors: “As many writers are told, having a child play an integral role in a narrative or poem can be challenging. Their finite worldview, inability to grasp complexities, and narrow range of expressions can handicap the ideas and experiences one may want to articulate. However, as the editors read the pieces that would eventually be included in this volume, many of which have children in them, they were reminded that this potential handicap can also be a powerful tool. Unlike adults, children (or child-like characters) are often free from facades and other traits that can convolute meaning, so can offer a less encumbered, more direct view of an idea or experience. This view can be a formidable artistic tool when dealing with complex subjects, which would certainly include the nuanced and emotionally-charged matters of war and its consequences.”
Published at Suffolk University, the newest issue of Salamander features 2025 Fiction Contest First Place Winner “Scheherazade in the Tropics” by Ivan Suazo and Second Place Winner “The Wild Hunt” by Andrew Joseph Kane as selected by Final Judge Helen Phillips. Readers will also find additional fiction by Bizzy Coy and Kate Lister Campbell, creative nonfiction by Gwen Niekamp, Jillian McKelvey, Sarah C. Baldwin, Acie Clark, and Kristina Garvin, with an art portfolio by Catherine Graffam.
For those looking for more poetry, Salamander 60 offers much to appreciate, with works by Mk Smith Despres, Angie Macri, Hana Damon-Tollenaere, Ansel Elkins, Anastasia Vassos, Emma Bolden, Jonathan Greenhause, Tiffany Promise, Laura Cesarco Eglin, Jane Donohue, Christian Paulisich, Richard Lyons, Jehanne Dubrow, Jill Michelle, Connemara Wadsworth, Eneida P. Alcalde, Allie Hoback, Hope F. Wabuke, Rebecca Foust, Jackie Delaney, Eben E.B. Bein, Bunkong Tuon, Christy Lee Barnes, Emily Schulten, Jeffrey Thompson, Cecil Sayre, Shana Hill, Jeff McRae, Michelle Matz, Dimitri Reyes, David Thoreen, Daniel Gaughan, Carolene Kurien, Sandra Marchetti, Francis Lunney, Julia Lisella, Darren C. Demaree, Gemma Cooper-Novack, Kunjana Parashar, Jonathan B. Aibel, Hanaa Ahmad Jabr, Wadaq Qais, Jennifer Jean, Javen Tanner, Sonya Schneider, and Dina Folgia.
Resolutions for the New Year? We’ve done that. Reviewing 2025? Covered. So how do we start 2026 off right? By chasing the concept of fresh.
One of my favorite moments in the Anne of Green Gables miniseries (with Megan Follows as Anne) is when her teacher reminds her that “tomorrow is always fresh, with no mistakes in it… yet.” Isn’t that the perfect spark for inspiration?
Inspiration Prompt: Fresh
Forget the resolutions destined to fizzle by February. Instead, picture this: a day that hasn’t asked anything of you yet. No mistakes—yet. No worn edges. Just possibility, bright and uncreased.
This week’s challenge is to capture that sense of renewal. Begin with something newly emerging—a scent, a bruise, a rumor, a memory resurfacing, a sprout breaking soil, a relationship resetting, a place you’ve returned to after too long away. Let “freshness” be more than newness: explore what is raw, recently touched, just‑changed, or changed again.
Ask yourself:
How does something become fresh?
How does it lose that quality?
What happens in the moment the world feels washed clean—or when you wish it would?
Write, sketch, compose, or collage from that first spark of renewal or disruption. Let your work carry the bright sting of something just beginning.
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The newest issue of Gargoyle online invites readers to enjoy new poetry, fiction, and nonfiction by nearly 100 authors, in addition to audio of authors reading their own works, including Maxine Clair, James Norcliffe, Mark Ari, as well as video works by Carl Gopalkrishnan and Tim G. Young. Two interviews feature Victor Armando Cruz Chavez, interviewed by Lillian O. Haynes, and Edward Hirsch, interviewed by By Gregg Shapiro. Gargoyle #12 also hosts artwork by Barbara DeCesare, Alexis Rhone Fancher, Carl Gopalkrishnan (including cover image: Hello Pretty Pretty), Tammy Higgins, Jody Mussoff, William Wolak. Gargoyle #12 is open access online along with their full archive of online issues.
All We Are Given We Cannot Hold by Robert Fanning Dzanc Books, December 2025
Poet Robert Fanning’s fifth collection, All We Are Given We Cannot Hold, bravely traverses wide vistas of personal and universal terrain, exploring coast and horizon for what holds us and for what we cannot hold. Exploring boundaries of love, identity and desire, of marriage and family, of human compassion and enmity, of what is given us and what we make, the journey ends with elegies for the poet’s mother, looking through her death toward what in us is boundless, toward where the infinite begins. For fans of Dylan Thomas and Theodore Roethke, this is a lyric collection not to be missed — a core sample from the middle of life, with all of its comings and goings and grievings.
Whether your look out the window and see blustery or balmy, showers or sun, books still make the best companions for enjoying quiet time. To help you find good reading, check out our monthly round-up of New Books. Each month we post the new and forthcoming titles NewPages selects from small, independent, university, and alternative presses as well as author-published titles and recent reviews.
If you are a follower of our blog or a subscriber to our weekly newsletter, you can see several of the titles we received featured. For publishers or authors looking to be featured on our blog and social media, please visit our FAQ page.
The Shore Issue 28 celebrates the 7the Anniversary of the publication. The editors are excited to share compelling poems that, like winter, have so much new life lingering beneath the surface. Readers will enjoy ringing in 2026 with revelatory poems by Emily Rosko, Gabby Zankowitz, Lizzy Ke Polishan, Rebecca Brock, Atia Sattar, Emily Harman, Giljoon Lee, K Hari, Violeta Garcia-Mendoza, Melanie McCabe, Safira Khan, Ashley Mo, Julia C Alter, Stephanie Chang, Maria Giesbrecht, Allison Blevins, Adam Chiles, Samuel Day Wharton, Kevin Clark, Brooke Harries, Julie Wong, Sumayya Arshed, Mariana Gioffre, Grace Lynn, Michael J Kolb, Elizabeth Porter, Christopher Buckley, Hayden Park, Grace Anne Anderson, Ruiyan Zhu, Topher Shields, Sarah Horner, Terry Tierney, Staci Halt, Alejandra Vansant, Arpita Roy, Veronica Fletcher, Peter Pizzi, Mary Fontana, Zixuan (Angel) Xin, Shari Zollinger, Caleb Jagoda & McKinley Johnson. Fractal art by Natalie Rainer is featured throughout.
The mission of Watershed Review is to create a multifaceted gathering of voices by publishing literature and visual art that captures crucial narratives and images of our current cultural moment. The Fall 2025 issue available to read open access online includes fiction by Heather Bell Adams, David Martin Anderson, Robert P. Kaye, Eliza Marley, Evan Lawrence Ringle; nonfiction by Erin Binney, Laura Mullen, Stephanie Provenzale-Furino, Angela Townsend; poetry by Samia Ahmed, Erik Armstrong, ari b. cofer, Lila J. Cutter, James Ducat, Heather D. Frankland, Olivia Jacobson, Kate Kearns, Cecil Morris, Sam Olson, Rachel Pearsall, Sarah Pross, Claire Scott, Linda Serrato, SM Stubbs, Farah Taha, Jeanine Walker, Arianna Xu; and art by Roger Camp, Chloe Foor, Jacqueline Rose, and Bill Wolak.
In Elegies of Herons, Sarah Wetzel weaves ecopoetics together with a poetics of tristezza. The mournful “current running” through the poems speaks to losses that shatter us. In “We are in pieces,” we learn the nature of those profound losses for Wetzel:
“The death of my mother, the death of my best friend, a dog, a marriage, the loss of an entire Mediterranean city I used to call home—”
In “Harbingers,” Wetzel asks “what // comes afterwards”? One reply: Poetry. As Emily Dickinson wrote, “After great pain, a formal feeling comes.” Through self-aware poems spanning the elegy, ekphrastic, epistle, and nocturne forms, Wetzel examines the tensions at the heart of the “human experience” — “hope or helplessness,” “poison or antidote,” “full-throated joy” or “folly of love.” Her poems function as wishes: “a friend to live longer, a lover to love us more.” They become songs honoring those lost, offering “sounds / other than silence.” Wetzel accepts the “danger / in making this misery / memorable” to serve her “soundtrack / for loneliness.”
The herons that haunt this collection, standing motionless at water’s edge, embody the vigil grief requires: the waiting, the watching, the acceptance. Through this natural imagery, Wetzel locates personal devastation within ecological time, where loss is neither exceptional nor redemptive — simply inevitable. The Mediterranean landscapes, the shifting waters, the birds in flight all remind us that memory itself is migratory, arriving and departing on its own rhythms.
The poems of Sarah Wetzel’s Elegies of Herons, “confront grief,” insist on attention, on the act of naming what has been lost, even as that naming acknowledges its own inadequacy.
Elegies of Herons by Sarah Wetzel. Black Sunflowers Poetry Press, June 2025.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (University of Nevada Press, 2025), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Macarty’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024), 2025 finalist for the bpNichol Award.
In her debut chapbook, When Sad Ones Go Outside, Monica Wang offers readers an immersive journey through landscapes both real and fantastical. With sensitivity and skill, Wang weaves together fabulism and lived experience to create a collection of prose and verse poems where readers encounter “ancient ones,” family members, romantic partners, and fairy tale characters, such as the “koi woman and tigerlily.”
In Wang’s garden of mirrors, her cosmos of ghosts, family members are often in peril or have left the earthly realm. Ancient ones appear to impart wisdom to our heroine, “adventuring” in the forests and brambles of her life. The characters from fairy tales offer commentary on power struggles, especially between genders. Each figure becomes a guide through the tangled woods of grief, memory, and self-discovery.
Whether outside — under the stars, on a walk, in a garden — or inside bedrooms, libraries, or traversing the inner terrains of written or unwritten pages, Wang’s writing seeks not only to understand sorrow but also to transmute it. What makes this collection special is Wang’s commitment to transformation through language. She seeks to shed the “bitter language” of past encounters in favor of words that can be heard “between whispering or shouting.”
“She lays down the mass of flame-colored blooms, where it burns without sound for the one who’s gone” is emblematic of her ability to transform grief into something beautiful, ineffable, yet deeply felt. Reading Sad Ones Go Outside is an invitation to experience mourning and magic side by side, to walk “hidden paths,” where loss blooms quietly into beauty.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (University of Nevada Press, 2025), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Macarty’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024), 2025 finalist for the bpNichol Award.
The poems in Sullivan Summer’s chapbook Performance Anxiety examine the many roles society imposes — and expects us to play. Our guide is a self-described “adopted Black daughter,” leading us through poems shaped by “complex culture.” While society claims to value “progress” and “perspective,” Summer reminds us in the poem “The Truth in American Fiction” that we still “cast villains” and exploit those we claim to protect.
The chapbook is arranged as a dramatis personae, introducing us to a cast of fifteen: the Adoptive Mother, Coroner, Corpse, Daughter, FBI Agent, Husband, Nail Tech, Police Officer, and others. These characters each inhabit scenes of violence, dismissal, and trauma. At the center stands our “Star of the Show,” the survivor who’s lived to share her story.
Summer asserts her agency — she is “the woman / herself who decided whether she remained anonymous and silent.” In a powerful feminist act, she breaks that silence and emerges from the hostile places where she “had been.” Fittingly, her poetic forms are experimental, hybrid, and distinct.
One standout poem, “Five Parables of Mothers or Daughters,” meditates on four-letter words and their “connotations.” Singular words — “more,” “need,” “less,” “self” — anchor the poem’s exploration of the line between performance and real political action. The poem is a call to action disguised as parable.
In Performance Anxiety, Sullivan Summer invites us to witness more than just stories of survival — she calls on us to question the scripts we accept in our own lives. Through her willingness to unsettle, she exposes the tension between “lust and loathing,” “appropriation and appreciation,” borrowed roles and the truths we risk telling.
Performance Anxiety by Sullivan Summer. Black Sunflowers Poetry Press, June 2025.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (University of Nevada Press, 2025), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Macarty’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024), 2025 finalist for the bpNichol Award.
West Trade Review is a quarterly literary journal publishing diverse, risk-taking contemporary writing and art from both emerging and established voices. The Winter 2025 issue offers readers a collection of online exclusives including poetry by Anya Kirshbaum, Zizipho Godana, T. De Los Reyes, Sandra Tan, Rachel Becker, Ewen Glass, Timothy Stobierski, Schyler Butler, Rita Mookerjee, Natalia Godyla, Eric Baker, D Anson Lee, Sean Wang, Nathan Erwin, Collin Kim, James Lilliefors, Annette Sisson, Rowan Tate; fiction by Janine A. Willis; creative nonfiction by R.C. Blenis; and a video of visual poetics, “The Dreamworld Radicalizes” by Maya Miracle Gudapati. Cover art by David Deweerdt (IG: @davidpeintladifference).
Welcome to the final submissions roundup of 2025—say it isn’t so! With December wrapping up next week, now’s the moment to catch all those end‑of‑year deadlines before they slip away.
A quick scheduling note: NewPages will be on our annual winter break from December 24 through January 5. That means there will be no submissions roundup for the New Year. We’ll return with the first roundup of 2026 on January 9.
We hope you’ve had a wonderful, restful, and safe holiday season. Here’s wishing you all the best in the New Year—may your writing, reading, and submitting goals not only be met, but exceeded.
Inspiration Prompt: Resolutely Magic
New Year’s resolutions are made just to be broken… right? Carrying your best intentions forward for an entire year can feel like both a monumental effort and a monstrous challenge.
But imagine living in a world where your resolutions weren’t just hopeful lists—they were official contracts.
What happens if you break one? What does that cost you?
Or picture a year when something unexpected happens: your resolutions are blessed with magic, guaranteeing that you’ll meet every expectation you set for yourself. How would that change you? Would the meaning of your accomplishments shift if you didn’t have to struggle for them? Would you create new resolutions? Bigger ones? Stranger ones? Would you use the power of “your” resolutions to reshape your community—or the world?
Write, draw, collage, sketch… create a world where resolutions carry power, consequence, and possibility. Let your imagination decide what becomes resolute—and what becomes magical.
In More Beautiful Than The Dead, Danny Bellinger crafts an “anthem” to his family and neighborhood, set against the turbulent backdrop of 1960s America marked by racial violence and war. His poems question allegiances, mourn an “unforgiving / world,” and cherish the sense of belonging found in backyard gatherings, on porch steps, and at neighborhood haunts. As Bellinger writes, “The war was over, but nobody could tell you who won…”
The chapbook’s twenty-one poems span odes, portraits, elegies, contrapuntal, and prose forms. Accompanied by the soulful sounds of Sam Cooke, Curtis Mayfield, The O’Jays, Johnny Taylor, The Sensational Nightingales, Isley Brothers, and The Temptations, Bellinger moves between the worlds of the living and the lost. His “funeral company” includes a “cantankerous aunt,” a “half-dead brother,” “The Prince of Kingsway Projects,” and icons “Kennedy, King, Bobby, and Jesus.” In lines that go off like “sparklers and cherry bombs,” Bellinger balances the bitter and the sweet, bringing alive a past he wants to “get off [his] chest.”
In the end, Bellinger’s More Beautiful Than The Dead is not just a reflection on hard times, but a testament to the resilience found in memory, music, and family. His poems remind us that even amid personal loss and social upheaval, beauty can be salvaged — and shared — from the everyday moments that never quite leave us. This chapbook lingers “in wonder,” echoing the voices of the past, inviting us to listen closely and hold our history a little tighter.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (University of Nevada Press, 2025), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Macarty’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024), 2025 finalist for the bpNichol Award.
How do you use the season as inspiration without using the season as inspiration? It’s a tricky question.
The winter holiday season seems to elbow its way into our lives earlier every year—lights appearing before the leaves have even fallen, carols echoing long before snow arrives. But creative inspiration shouldn’t feel like a force‑feed. So how do we tap into the richness of this time of year without drowning in holiday spirit we never asked for?
Then it dawned on me: snow globes.
These little baubles come in every imaginable shape and size, and so many of them aren’t tied to holidays at all. They can be playful, eerie, nostalgic, surreal, or downright strange. When I was in elementary school, we made our own snow globes—baby food jars filled with glitter and miniature winter scenes. They were messy, handmade, and wildly charming. And honestly? What better raw material for creative work is there?
Plus, if you’re feeling adventurous, you can blend the literary with the literal and craft your own snow globe as part of your writing ritual. (Highly recommended.)
Inspiration Prompt: Snow Globe
Imagine a world small enough to hold, yet vast enough to transform you.
There’s something irresistibly enchanting about a snow globe. Glitter drifting like slow‑falling stars. Tiny houses and trees arranged just so. Whole towns frozen mid‑breath—every window aglow, every path untraveled. Turn the globe in your hands and time seems to pause. Shake it, and the sky erupts in a private blizzard. These little worlds invite us to wonder what it might feel like to live inside a universe bound by glass.
For this week’s creative experiment, sink into that magic—then unsettle it.
What if you woke one morning and found yourself inside a snow globe?
Outside forces—hands much larger than your own—disturb the ground whenever your world is tilted or rattled. Maybe you learn to read weather patterns based on someone else’s mood. Maybe tremors become a language; maybe glitter becomes prophecy.
What sounds fill such a place? What does warmth mean when it comes only from a hidden light under plastic snow?
Or picture your own city sealed inside an invisible dome.
Snow tumbles steadily from a cloudless sky. Year‑round drifts bury familiar landmarks. The ground gives small, frequent shudders. Daylight bends oddly, refracted against an unseen, curved boundary—enough to make shadows behave like strangers.
Do people adapt? Resist? Celebrate? How long before your community begins to wonder whether you’re being observed?
And consider this twist:
Someone from a place without winter—a desert, a humid coastline, a dry savanna—is suddenly thrust into this permanent blizzard.
What does cold mean to someone who has never felt it? What memories become useless? What new skills or survival instincts sharpen under pressure? How might such a climate, relentless and alien, reshape identity, relationships, or a sense of home?
Your invitation this week:
Write into the wonder. Sketch into the distortion. Collage into the beauty. Photograph the unease.
Your medium doesn’t matter—only your curiosity does. Explore how environments transform us, how confinement distorts perception, how a small world can become limitless when imagination cracks the glass.
What changes in this miniature world? What becomes newly possible?
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The Greensboro Review Fall 2025 is dedicated to Christopher Swensen (1985 – 2025), and opens with Editor Terry L. Kennedy’s introduction titled “Attention.” Kennedy writes, “Memory doesn’t work as archive but as poem. It keeps not records but fragments . . . Over time, these sensory moments become our quiet foundation.” Kennedy offers that the stories and poems in this issue “testify” to a mindfulness that “feels both foreign and familiar,” and extends “an invitation to stillness in motion, to the vibrant pause where poems and stories bloom.”
Contributors to this issue include fiction by Suqi Karen Sims, Michelle Ross, Glenn Taylor, Marylou Fusco, Sophia Huneycutt, K.C. Allison, K.S.M., Emma Cairns Watson; poetry by Becka Mara McKay, Eliana Franklin, Jackson Benson, Lucas Dean Clark, Tara Bray, Sarah Brockhaus, Anna Lewis, Adam Tavel, Kari Gunter-Seymour, Matt Poindexter, Alicia Rebecca Myers, and Callie Plaxco.
The Wounded Line, the first craft-based writing book of its kind, is grounded not only in research but also in heart, in the belief that even our deepest hurts can find a lyric form. In this accessible and inspiring guide, acclaimed writer Jehanne Dubrow draws on how the study of trauma has defined both her creative work and her teaching. Leading poets through a series of practical approaches to representing pain on the page, Dubrow provides readers with narrative techniques, rhetorical structures, and formal strategies that can be applied to any trauma, from the global and the historical to the intimate and the personal. The Wounded Line encourages poets at all stages to address the difficult, discomfiting questions that ache within each of us.
Jehanne Dubrow is a professor of creative writing and a Distinguished Research Professor at the University of North Texas, a well respected writer, speaker, guide, and spouse of a career military officer.
Southern Humanities Review issue 58.4 is a blustery new collection of poetry and prose, featuring poetry by Debmalya Bandyopadhyay, A.J. Bermudez, Claire Christoff, Dorsey Craft, Caprice Garvin, Jared Harél, Bob Hicok, DT Holt, Diana Keren Lee, Oladejo Abdullah Feranmi, Sabrina Spence, and Jessie Wingate. Nonfiction contributors include Laura Grace Hitt and Gabriela Mayes, and fiction by Ariel Katz, Lim Hyeon translated by Yaerim Gen Kwon, Joanna Pearson, and Pardeep Toor.
Some content can be read online, and individual copies, as well as subscriptions, are available on the Southern Humanities Review website. Subscriptions make great gifts!
Cover Art: Maurice Dumont (French, 1870-1899). Sappho, 1895. Gypsograph. The Cleveland Museum of Art; Gift of Friends of the Department of Prints and Drawings 1991.153.
The stories in Blink-Ink #62 respond to the theme: Museums. “In the beginning,” write the editors, “a museum was a temple of the muses, whose songs inspire the arts and sciences. Today, a museum collects, preserves, studies and displays wonders and marvels.” The stories ‘of approximately 50 words’ include “My Past Life Self Won’t Stop Following Me Around the Museum” by Nancy Stohlman, “Sardi’s Wall of Fame” by Carolyn R. Russel, “Forgotten Things” by Wasima Khan, “In the Sculpture Garden at the Brooklyn Museum” by Victoria Large, “The Museum of Insufferable Rocks” by Susan April, “When We Thought Art Could Save Us” by Kathryn Kulpa, “Ink on Wood: The Vindolanda Tablets” by S.A. Greene, “Museum Knight” by JF Inceb, and many more. At only 4×5.25 inches, this petite publication is “the gold standard for micro fiction.”
The newest issue of Colorado Review (Fall/Winter 2025) addresses many kinds of knowing and unknowing through essays, stories, and poems — people reaching for what evades them — sometimes glimpsing it, sometimes grasping it, sometimes missing it altogether. In each of the works, what is imagined, desired, feared, forgotten, or remembered can both tease and torment. But sometimes the remedy is trusting intuition, even in the darkness. As we move closer to the darkest days of the year, these contributors offer a way to find a bit of light: Dana Cann, Thea Chacamaty, Amanda DeMatto, Shira Dentz, Allison Hutchcraft, Katherine Irajpanah, Mark Irwin, Jenna Johnson, Robert Krut, Daniel Kuo, Heather Kirn Lanier, Christine Larusso, Ezra Garey Levine, Andrew Maxwell, Jenny Molberg, Nathaniel Perry, Jacques J. Rancourt, Marney Rathbun, Mariah Rigg, Madeleine Scott, Craig Morgan Teicher, and G.C. Waldrep.
The Long Now Conditions Permit by Jami Macarty Winner of the 2023 Test Site Poetry Prize University of Nevada Press, December 2025
The precarities, brutalities, and wonders of being, occurring, and relating are everywhere in the poems of The Long Now Conditions Permit, winner of the 2023 Test Poetry Prize. The poems situate and resituate across ecotones and other moving, speaking, vulnerable bodies in the threatened animal-botanical-physical world. Among the most vulnerable are women and girls. These poems are married to the consciousnesses of being a woman whose life of historical and impending threat does not permit her to imagine a future unencumbered by fear and violence. Questions of political and economic power loom: What price do humans and ecologies pay for an increasingly global extractive-consumptive paradigm? What can one afford to do or not? What time is ours, alone and in communion? Which friendship bastion, which betrayal? Who can go for a walk without looking over her shoulder? Who can swim in the quarry without becoming a predator’s quarry? Via insistent lyric imperatives to grapple, articulate, and describe, these poems counter oppression and taboo. They strive to ward off further wounding and damage. Violence, stigma, shame, and ferocity are indirectly, but by insistent juxtaposition, contextualized in a world of birds. The speakers in the poems search for a way to move beyond pain and reclaim lost portions of the traumatized self — by walking, running, by flying.
The Malahat Review 232 features the winner of the 2025 Far Horizons Award for Short Fiction, “Little Paradiso” by Gladwell Pamba as well as poetry by Daniel Naawenkangua Abukuri, Ambrose Albert, Isobel Burke, George Elliott Clarke, Marlene Cookshaw, Guy Elston, John Lent, Edward Luetkehoelter, Ismail Yusuf Olumoh, Elizabeth Philips, Ben Robinson, Mark Truscott, and Jade Wallace; fiction by Daryl Bruce, Brett Nelson, and Jean-Christophe Réhel (translated from the French by Neil Smith); and creative nonfiction by Paul Dhillon, and Karine Hack. Cover art: Labyrinth 8 (detail), 2021 by Chukwudubem Ukaigwe, (photo: Steven Cottingham).
They say that in life there are only a few certainties: death and taxes. None of us truly knows when death will come knocking, though some people face its approach with more clarity because of illness. For most of us, though, the moment remains invisible until it has already passed.
This past Thanksgiving, my family experienced one of those invisible thresholds for the second time. The holiday dinner—familiar, warm, full of our usual stories—became a last supper with the beloved patriarch of our family. No one saw it coming. That suddenness, that unexpected finality, brought this idea sharply into focus:
What if this meal became the last with someone you loved? How would that change the way you saw the moment? And what new understandings might emerge when you look back?
These questions form the heart of this week’s inspiration prompt.
Inspiration Prompt: The Last Supper
There’s a quiet mystery at the heart of every family table: we never know which shared meal will be the last with someone we love. We pass dishes, refill drinks, laugh at familiar jokes, and settle into well-worn rhythms—never imagining that a seemingly ordinary evening might become a final chapter.
And yet, when we look back, it’s often the unremarkable moments that take on unexpected weight. A holiday dish that won’t be made again. A story retold for the hundredth time, suddenly cherished because it will never be told the same way. A chair left empty next year. These details, small and human, become the symbols we hold onto long after the meal has ended.
This tension—between presence and memory, between the living moment and what endures—creates fertile ground for art.
When the Ordinary Turns Sacred
Think of a dinner that felt like every other. The clink of utensils. The hum of conversation. Maybe the TV murmuring in the background or a candle sputtering in its glass. Nothing dramatic. Nothing staged.
And yet, inside that moment, something was already shifting. Maybe the person across the table looked a little more tired than usual. Maybe they lingered longer over a story. Maybe the only sacred thing was that everyone was together—something you wouldn’t realize mattered until years later.
These are the thresholds where the ordinary becomes sacred, where the mundane becomes myth.
Symbols That Stay With Us
Symbols emerge without our choosing:
A favorite dish someone made every year, crafted one last time
A joke that breaks the table into laughter and somehow becomes a benediction
A piece of music playing softly in the background, forever tied to that night
These fragments become the reliquaries of memory. They are the objects and gestures through which we understand a person’s legacy—not in grand declarations, but in the undramatic, deeply human shape of a shared meal.
An Invitation to Create
This week, consider exploring that threshold between presence and memory in your creative practice.
Imagine a meal that becomes eternal. Not because anyone knew it was the last, but because the echoes of that night continue to resonate.
You might write a story about a family gathering where every detail becomes a vessel of meaning.
You might craft a poem that holds the ache of endings in one hand and the tenderness of remembrance in the other.
You might paint a table set with symbolic objects, or photograph an empty chair and the light that falls across it.
You might capture the hum of grief and grace in a piece of music.
Whatever your medium, let it hold both sides of the threshold: the ache of something ending, and the quiet hope of what endures.
Because in every “last supper,” there’s a kind of immortality—not in the meal itself, but in the love that gathers around it.
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